lowdown

I think it's actually 7/4? Wuthering Heights is in 4/4, but the chorus goes through 4/4, 2/4, 3/4, 4/4. On the coda (or end solo), the Drummer seems to drop the snare out on a couple of bars like he has lost the meter. If it is a fluff, he covers it well. At 4:01...

Blondie went from 4/4 into 3/4 a couple of times in 'Heart Of Glass'. Richard Harris' MacArthur Park was littered with various time signatures and tempos. Maynard Ferguson's MacArthur Park was slightly different, it had 4/4, 3/4 2/4, 5/4, 6/4 and double time swing (including 3/2, along with the extended solos).

Of course, the Bass playing with TOP' was/is terrific. 'Back To Oakland' is still one of my favourite all time albums. But also, the arrangements are just top draw, with plenty of Big Band Jazz flavouring. I liked the 'Soul Ballads', they were well composed and harmonically rich. But I suppose, style wise, not for everyone.

Sounds like a day in the life of staff working at 'Subway' .

Voted. Well done all.

Henry E Davies had a good style using his thumb and first finger, a bit like Banjo picking. I think he must have had long nails as well (Quite a bit of bite in his sound). I remember transcribing the Thelma version many Moons ago and thinking the Bassist was using a pick, but of course he wasn't. I have posted this before a few years back, but always worth another read. An interview with 'Scott Edwards' and his session career. https://www.songfacts.com/blog/writing/bass-player-scott-edwards

Although, Rutger Gunnarsson played on most tracks, there were a couple of other Bassists involved, one being an English player called 'Mike Watson'. A decent little read below, about ABBA and the Bassists, the Basslines, along with what Basses were used etc... https://philwbass.com/2014/01/02/the-bassists-of-abba/

Brilliant...

Might well work for you, BRX, but 45 -105 works for me, just fine. I tend to play with a high action, so maybe that contributes to a tighter feel? What I don't understand is, if the combined gauges are not a good tension together, or not compatible, with the B string being woefully under tension, why on earth have Warwick been selling them for years? (45-135). I suppose we all get different things out of different strings, with different Basses, depending on touch, technique etc... Thankfully there are plenty of gauges and tensions available these day to please most of us.

I have been using these for years and love them. Medium gauge, 45/65/85/105/135. The 'B' seems like a very heavy gauge to some, but it works great on my Basses. Very tight, clear and well defined.

The Skyline is cheaper, but not the USA series. Although a bit pricey, they are lovely Instruments to play. https://www.lakland.com/product/usa-series-55-aj/ https://www.lakland.com/product/usa-series-55-60-vintage-j/

Back in 2003 I had Gas for a Fender Jazz 5. I tried several and couldn't find one I liked. Then out of the blue on a gig in Germany, a Fender USA Marcus Miller 5, was the hired in Bass for me. That was it, I found a Jazz I really liked. Soon as I was back in the UK, I ordered a new one. It was more than I wanted to pay, but played like a dream. I still have it and use it now, so a right result. 👍

Sometimes maybe, but when schedules are changed by other people, it's out of your control and not bad planning on your part.

For me, that's the sensible approach. Don't blow a good singer out totally, you might be in a similar situation again, and she is the singer to save the day at short notice. Time is a healer and you might feel different towards her a bit further down the line.

It all depends on the situation really and what the better offer was. Pulling out of a dep gig to go and dep on another gig, for a few quid more, like you hinted at, isn't good form really. You might have taken on a dep or two over a weekend and out of the Blue a show run comes in that clashes, or scheduled rehearsals on something else you had lined up, are pulled forward. Or someone else has pulled out of a tour at short notice and you are asked. Although a pain, one does understand because you have been in the same situation. It's how it's handled is the key. A suitable, top class replacement is the only answer, agreeable between yourself and the band leader/fixer/MD etc. This didn't happen in the OP's situation. But, pulling out of gigs/shows at short notice is not unusual and does happen, with happy endings (well through my experience, and probably others).

Haha...Yeah, I know who it is. I subscribed to Christian's YouTube channel a couple of years back (for his Big Band stuff), and landed on that little get together with Sting - It's actually a good listen.

It all Starts in 'D'...... Then, "Give 'em some Alison", up a half step for the Banjo solo. Then a half step again, after the 'Cage' solo...Excellent.

They even chucked in a half step, key change, after the 'Cage' Piano solo...Brilliant spoofing and very well done.

I really like Stephen Bishop's voice, he has recorded some real cool tunes. Love this duet with Yvonne Elliman

Dee Murray was a great player. He really nailed the Philly Sound & feel on Elton's 'Philadelphia Freedom' Dee and Drummer Nigel Olsson were a terrific rhythm section for Elton. Such a shame he died so early (45).

She's certainly nailed that! I've heard her sing a few times, and she always amazes me with her vocal chops Terrific musician.

There is a great YouTube Channel, where most of the musicians are listed for a lot of the American TV themes. Just click on 'Show More' (below the video). https://www.youtube.com/channel/UC7USgS7s7MTzOshd7xaPvNw/videos

Seeing as 'ITV' was just used as click bate, I will throw in a Bill Conti composed classic. Ray Pizzi on Alto and Ernie Watts on Tenor. As tight as two Saxes together can get! Plus: Dennis Budimir (guitar), Mike Lang (keyboards), Lee Sklar (bass), Steve Schaeffer (drums) and Emil Richards (percussion, tympani) . Trumpets: Jerry Hey & Gary Grant.

Not bad, considering it was co-written by a Bassist and a Drummer.

‘Who’s That Girl’. Madonna. The Eurythmics.